Where Or When
Stanley Turrentine & The Three Sounds Lyrics
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We looked at each other in the same way then
But I can't remember where or when
The clothes you're wearing are the clothes you wore
The smile you are smiling you were smiling then
But I can't remember where or when
Seem to be happening again
And so it seems that we have met before
And laughed before, and loved before
But who knows where or when
In Stanley Turrentine's song Where or When, the lyrics reveal a feeling of déjà vu between two people who have met before, laughed together, and possibly even loved each other before, but have forgotten the memories of their previous meeting. The lyrics suggest that they are experiencing similar feelings and emotions from their first meeting, which are now resurfacing as they meet again. The way they look at each other and the clothes they are wearing seem eerily similar to the way they were during the time of their first meeting.
The song highlights the concept of how time and memories can be forgotten or re-experienced in a cyclical fashion. The nostalgic tone of the lyrics adds to the sense of longing and reminiscence, as the two people try to remember where and when they met before. Their yearning to relive the past makes the song have an emotional impact as it speaks to the many missed connections individuals have in their lives.
Line by Line Meaning
It seems we stood and talked like this before
It feels like we've had this exact conversation before
We looked at each other in the same way then
Our eye contact and body language has not changed since the last time we talked
But I can't remember where or when
I cannot recall the exact time and place when we previously spoke
The clothes you're wearing are the clothes you wore
You seem to be wearing the same outfit as the last time we met
The smile you are smiling you were smiling then
The way you're smiling now is just like the manner in which you smiled during our previous encounter
But I can't remember where or when
I can't seem to recollect the time and place of our last interaction
Some things that happened for the first time
Certain events that occurred during our meeting were new experiences
Seem to be happening again
These experiences are recurring during our present interaction
And so it seems that we have met before
It's as though we have encountered each other previously
And laughed before, and loved before
We may have enjoyed moments of joy and love with one another in the past
But who knows where or when
However, neither of us can recall the exact time or place of our past interaction
Lyrics © CONCORD MUSIC PUBLISHING LLC, Warner Chappell Music, Inc.
Written by: Lorenz Hart, Richard Rodgers
Lyrics Licensed & Provided by LyricFind
@diegodobini22
S̲t̲a̲n̲l̲e̲y̲ ̲T̲u̲r̲r̲e̲n̲t̲i̲n̲e̲ With The Three Sounds – Blue Hour: The Complete Sessions - Master Takes
Label:Essential Jazz Classics – EJC55617
Format:CD, Album, Compilation, Stereo, 24 Bit Digitally Remastered
Country:Europe
Released:2013
Genre:Jazz
Style:Cool Jazz, Hard Bop
Tracklist:
1 I Want A Little Girl 0:00:01
2 Gee Baby, Ain't I Good To You 0:07:08
3 Blue Riff 0:12:34
4 Since I Fell For You 0:19:03
5 Willow Weep For Me 0:27:52
6 Blues In The Closet 0:37:49
7 Just In Time 0:42:52
8 Where Or When 0:48:35
9 Blue Hour 0:55:38
10 There Is No Greater Love 1:00:58
11 Alone Together 1:09:27
12 Strike Up The Band 1:14:12
Credits
Bass – Andy Simpkins*
Drums – Bill Dowdy
Piano – Gene Harris
Tenor Saxophone – S̲t̲a̲n̲l̲e̲y̲ ̲T̲u̲r̲r̲e̲n̲t̲i̲n̲e̲
Notes
This release presents all of S̲t̲a̲n̲l̲e̲y̲ ̲T̲u̲r̲r̲e̲n̲t̲i̲n̲e̲'s existing master takes accompanied by The Three Sounds, the legendary trio featuring Gene Harris on piano, Andy Simpkins on bass, and Bill Dowdy on drums. Included here is the complete original LP Blue Hour (Blue Note BST80457) plus two songs from the same date and a complete session taped earlier that year. Considering that only an alternate take of "Gee Baby" has been left out, this CD contains nearly their complete collaborative recordings.
1-7: Englewood Cliffs, New Jersey, December 16, 1960.
8-12: Englewood Cliffs, New Jersey, June 29, 1960.
Original sessions recorded by Rudy Van Gelder & produced by Alfred Lion.
[1-5 originally issued as Blue Hour, Blue Note B̲S̲T̲8̲0̲4̲5̲7̲.]
S̲t̲a̲n̲l̲e̲y̲ ̲T̲u̲r̲r̲e̲n̲t̲i̲n̲e̲ with THE THREE SOUNDS
BLUE HOUR THE COMPLETE SESSIONS - Master Takes
This release presents all Turrentine's existing master takes accompanied by The Three Sounds, the legendary trio featuring Gene Harris on piano, Andy Simpkins on bass, and Bill Dowdy on drums. Included here is the complete original LP Blue Hour (Blue Note BST80457; tracks 1-5), plus two songs from the same date, as well as a complete session taped earlier that year. Considering that Turrentine would never record again with The Three Sounds, and that only one alternate take survives from both sessions (of "Gee Baby, Ain't I Good to You"), this CD contains nearly their complete collaborative works. Stanley William Turrentine (Pittsburgh, Pennsylvania, April 5, September 12, 2000) was born into a musical family in Pittsburgh's Hill District. His father, Thomas Turrentine, Sr., was a saxophonist with Al Cooper's Savoy Sultans, his mother played stride piano, and his older brother Tommy Turrentine became a professional trumpet player. Stanley began his prolific career with blues and R&B bands, and was at first greatly influenced by of Stanley 1934-New York Illinois Jacquet. In the 1950s, he went on to play with the groups of Lowell Fulson and Earl Bostic. He received his only formal musical training during his military stint in the mid-'50s. In 1959, he jumped from the frying pan into the fire when he left the military and went straight into the band of the great drummer Max Roach. He married organist Shirley Scott in 1960 and the two frequently played and recorded together. In the 1960s, he started working with organist Jimmy Smith, and made many soul jazz recordings both with Smith and as a leader. In the 1970s, after his professional split and divorce from Scott, Turrentine turned to jazz fusion and signed for Creed Taylor's CTI label. His first album for CTI, Sugar proved one of his biggest successes and a seminal recording for the label. He worked with Freddie Hubbard, Milt Jackson, George Benson, Bob James, Richard Tee, Idris Muhammad, Ron Carter, Grant Green and Eric Gale, to name a few. He returned to soul jazz in the 1980s and into the 1990s Turrentine lived in Fort Washington, Maryland from the early '90s until his death of a stroke at the age of 66. The Three Sounds (also known as "The 3 Sounds") were formed in 1956 and disbanded in 1973. The' trio played and recorded with Lester Young, Lou Donaldson, Nat Adderley, Johnny Griffin, Anita O' Day, Bucky Pizzarelli, S̲t̲a̲n̲l̲e̲y̲ ̲T̲u̲r̲r̲e̲n̲t̲i̲n̲e̲ and Sonny Stitt, among others. Originally, the group was formed in Benton Harbor, Michigan, as the "Four Sounds". The original line-up consisted of Gene Harris on piano, Andrew Simpkins on double bass and Bill Dowdy on drums, along with saxophonist Lonnie "The Sound" Walker, who dropped out the following year. The group moved to Washington and then New York, where, as The Three Sounds, they cut an album for Riverside Records, before signing an exclusive contract with Blue Note. Between 1958 and 1962, the group released nine albums for the label. They toured nationally during this period, building a large following in jazz clubs across the country. "S̲t̲a̲n̲l̲e̲y̲ ̲T̲u̲r̲r̲e̲n̲t̲i̲n̲e̲ & the Three Sounds were initially featured together on an album called Blue Hour', wrote All Music Guide critic Ken Dryden, "which was a very relaxed and bluesy release. The spaciousness of 'I Want a Little Girl' makes the listener savor every note, while 'Gee Baby, Ain't I Good to You' is played with an almost identical tempo and feeling. Gene Harris' "Blue Riff' picks up the pace a good bit, before 'Since I Fell
for You' and 'Willow Weep for Me' once again slow the proceedings back to a late night feeling. Turrentine's tenor sax is in top form, while Harris is the consummate blues pianist in his supporting role. After the first LP issue of Blue Hour went out of print, it was expanded to include new tunes from the sessions. It is apparent right away that the original producer Alfred Lion was correct in withholding most of these recordings from release. As well as Turrentine plays during 'Blues in the Closet', the rhythm section seems a bit stiff. Harris' piano is too much in the background on 'Just in Time', while the pianist's composition 'Blue Hour' doesn't seem to be fully formed as a blues vehicle. 'Strike up the Band' is the one truly up-tempo recording present on this release, but probably wasn't issued previously because it is faded prematurely and it was so different from the producer's concept for the originally conceived release. Regardless, since both S̲t̲a̲n̲l̲e̲y̲ ̲T̲u̲r̲r̲e̲n̲t̲i̲n̲e̲ and Gene Harris passed away within a year of each other in 2000, having additional music made available featuring these two fine musicians is most welcome." It is odd that while Harris' composition "Blue Hour" wasn't included on the original LP, the song nevertheless provided the album's title. Harris would never record "Blue Hour" again in any context. Although Turrentine never recorded again with The Three Sounds, he would be taped with Gene Harris on two other occasions: in 1985 both musicians participated on a Concord album cut live at the Blue Note club in New York, with Ray Brown on bass, and Mickey Roker on drums. They would make a final album together: Live -Gene Harris & The Philip Morris All Stars, featuring Harris and Turrentine along with Harry "Sweets" Edison on trumpet, Kenny Burrell on guitar, George Mraz on bass, Lewis Nash on drums, and vocalist Ernie Andrews. It was recorded live at The University Club, in San Diego, California, on April 22, 1995. Joe Segal (2013)
@ronaldunkel2681
For me was Gene the among the-most bluesiest, funkiest and drippin’ with soul pianists. Boss-tenor - “Stan The Man” - as steady as rock, probingly rising above it all. Super combination these four jazz greats. Was very lucky to see Gene leading the - The Philip Morris Bag Band - in Brisbane in the very late 1980’s and a few years later as - The Concord Band - also in Oz. Bloody great experience folks. It blew the roof of the hall. This session is pure gold. They knew how to play jazz in those days. Enjoy, dig and a swinging G’day & Cheers!
@quinogracci
Muchísimas grascias por compartir esta grabación.
Todo un descubrimiento para mí The Three Sounds, aunque había escuchado el album "Feelin' Good" me parece que la colaboración con Stanley Turrentine es sublime, se nota que se entienden a las mil maravillas como diría el gran Cifu.
@derkzweers7604
Very nice record for a lazy sunday afternoon👍
@diegodobini22
2
ORIGINAL LINER NOTES: BLUE HOUR
DO YOU remember Longfellow's Children's Hour? Well, this is the Blue Hour and it's not for children. The "blue hour" is that early morning time when you "reach across the pillow where your baby used to lay" (part of an accurate blues lyric once sung by Rubberlegs Williams) and fail to find her (or him) there. It is when the lonely automobile sounds from the street below, the reflection of the neons and the elongated shadows on the wall, all serve as reminders of the solitary state. If there is one thing that simultaneously reiterates the painful facts and serves as balm for your bruised soul, it is music. Specifically, the blues are about the most powerful combination of purgative and emollient that there is. Blues are like the people who create them, products of their environment. Nevertheless, they are genuinely bluesy even if not cast in the usual 12-bar mold. They are representative of what is commonly known as the "blues ballad'', blues or blues-inflected songs with a bridge. This genre grew popular in the '40s, especially around the large cities. You heard it both in the repertoires of the big bands and the small combos. Although the blues ballad has mainly been the property of vocalists, many of the melodies are so attractive that our modern jazzmen began to play them during the '50s. The best of this type of song has always contained the warmth of the blues coupled with romantic elements from the "popular" tune. Buddy Johnson's "Since I Fell for You" (sister Ella Johnson made this one especially convincing) is an excellent example. "Gee Baby, Ain't I Good to You" goes back to the '40s when some memorable versions of this Don Redman tune were done by Lips Page and Nat Cole. Old Count Basie fans will remember Jimmy Rushing's original vocal plea of "I Want A Little Girl." While never thought of as a blues ballad, "Willow Weep for Me", qualifies by its strong blues feeling, even though it approaches the category from another direction than, say, the "Don't Cry Baby" that Jimmy Mitchelle did in the '40s with Erskine Hawkins. The only 12-bar blues of the set is "Blue Riff' by Gene Harris. The tempo is a bit faster than any of the other slow-grooved selections but it is in the same relaxed mood. No detailed explanation is needed to tell you about the treatment of these songs here. The simple act of listening will be self explanatory. The horn that fills Blue Hour with minutes of azure, cobalt, cerulean, navy, sky and Baby; Baby, is the tenor saxophone of Stanley Turrentine. Although only in his late '20s, Turrentine has a warmth of style associated with the players of an earlier period. His first inspirations were Coleman Hawkins and Don Byas and it is obvious that he learned some valuable lessons from them. Stan's full-bodied tenor is ideally suited to the material here. Presently with organist Shirley Scott's group, he is perhaps best known for his work with the Max Roach Quintet during 1959-60. It should be known, however, that he played with Ray Charles in 1952 and Earl Bostic in 1953. Jobs like these were actually long-range preparation for a date such as Blue Hour. Since Turrentine's first Blue Note LP as a leader (Look Out! BN 4039) and his numerous appearances as a sideman on this label with Horace Parlan, Arthur Taylor, etc., he has drawn nothing but high praise from a variety of critics. His direct, honestly emotional playing, embodying elements of the old and the new, pleases a wide scope of listening taste. The fly, funky threesome known as The Three Sounds is very familiar to Blue Note listeners. In essence, this trio is an export of Benton Harbor, Michigan and a product of Indiana. Pianist Gene Harris and drummer Bill Dowdy were born in Michigan city. Bassist Andy Simpkins was born in Richmond, Indiana, the state where the group was formed in South Bend in 1956. In addition to their own albums on Blue Note, the Sounds also did a set backing Lou Donaldson. The wedding of Turrentine and The Three Sounds is the work of an astute matchmaker. Their insinuating, down stylings are a perfect complement to Stan's tenor. If he is the hands of the clock which tells us the blue hour, the Sounds are the inner works with Harris the sweep second hand. This album has to make you feel good even when you are really brought down. You don't have to shake well before using. Use it freely; its healing powers won't diminish. And if your baby happens to come back and you're feeling all right again, it won't hurt to enjoy Blue Hour together, even at twelve noon.
Ira Gitler